Aotearoa artists shine in The Changing Room exhibition

An exhibition initiative launched at Gus Fisher Gallery in 2025 will continue in 2026 thanks to funding from The Chartwell Trust.

The Changing Room offers three solo exhibition opportunities per year to Aotearoa New Zealand-based emerging and mid-career artists, providing them with technical, curatorial and financial support that enables them to realise new ambitious projects. The projects take place in an exhibition space that was formerly used as a changing room during the building’s broadcasting era, paying homage to the gallery’s pioneering radio and television history. Now this space of former change is a site for artistic experimentation, where artists present bold contemporary works in a unique heritage environment.

The proposal-driven initiative sees artists apply as part of an open call opportunity. The successful three are selected by esteemed Elam School of Fine Arts alumni and artists, encouraging peer to peer development and the sharing of expertise.

“This offers a different perspective,’ says Ruth Minh Ha, assistant curator at Gus Fisher Gallery. “The judges are well-informed and knowledgeable of current artistic practices, having seen many exhibitions by their peers and upcoming artists, so they are often selecting work that they would like to see more of.”

The Changing Room’s inaugural 2025 cohort was supported by Gus Fisher Gallery and welcomed three different artists into the space across the year.

First up were siblings Oscar and Sophie Bannan, who examined rhythms of living through a combination of collage, photography, video and sculpture (see image above). The second featured artist was Southland’s Daegan Wells, who used wool, timber and handwoven fabrics to create objects that question the histories and politics of place (see image below).

The third and final artist of the year, whose exhibition is currently on display until 13 December 2025, is Chevron Hassett (Ngāti Porou, Ngāti Rongomaiwāhine, Ngāti Kahungunu, Pākehā). His sculptural installation 'Aroha Ki Te Tangata' features a lace fretwork and carved atamira (Māori platform), merging traditional whakairo and colonial architecture in an exploration of urban indigeneity. Audiences are encouraged to sit or lie on the atamira and experience a moment of contemplation.

Being part of The Changing Room was a challenging and rewarding experience, says Chevron.

“The Changing Room kaupapa has challenged me to develop my practice further, sharpen my ideas and progress my skills. It gave me the opportunity to make work that fostered growth and has influenced my direction going forward. I believe it’s a valuable initiative that will continue to support many artists to come.”

Ngahuia Harrison (Ngātiwai, Ngāti Pukenga, Ngāpuhi) and Owen Connors selected the 2026 trio of artists, prioritising fresh proposals that were original both in concept and with respect to the artists’ existing body of work.

The forthcoming group is equally bold and diverse, says Ruth, “with each of the artists proposing thoughtful, research-driven projects that are relevant to the current moment”.

Artists Rangi White (Rongomaiwahine, Ngāti Rakaipaaka), Lucy Meyle and Frances Libeau are each set to receive funds for exhibitions in the New Year, supported by The Chartwell Trust.

“Funding from The Chartwell Trust towards The Changing Room 2026 has been vital to ensuring we can continue supporting artists through this open-call commissioning opportunity,” says Lisa Beauchamp, curator of contemporary art at Gus Fisher Gallery.

“Enabling artists to make new work and be financially supported to do so is essential, and I’m thankful to The Chartwell Trust for enabling the kaupapa of Gus Fisher Gallery to thrive at a time when valuable commissioning and exhibition opportunities like this for artists are becoming increasingly rare.”

As well as ensuring artists are given a voice and an audience at the pivotal early stages of their creative journeys, The Changing Room plays an important role in contributing to Aotearoa’s wider art community.

For these reasons, Ruth hopes to see it continue beyond 2026: “We want to contribute to the growth of the art sector and make it a more exciting, sustainable and vibrant place for artists.”